Festival Central Program Week 2 Morning Classes

Drawing upon the great English country dance collections of John Playford and others, we’ll take a romp through the venerable repertory of popular ballads–some bawdy, some beautiful–set to those dances.

Work on the skills you need to not only be a better player yourself, but to inspire your fellow consort players to turn notes into music! We’ll play consort music by composers of the Renaissance, Baroque, and beyond, working on skills such as intonation, tone colors, articulation, rhythm, and ensemble precision. We’ll learn how to make decisions about tempo, ornaments, dynamics, and phrasing.

One-on-a-part consort, blend and ensemble skills will be emphasized. Repertoire will include works by English composers. Performance is a possibility. For players familiar with Renaissance recorder fingering who own or can borrow hand-built Renaissance recorders. We will not be sharing recorders in class, therefore all players must bring at least two sizes.

15th- and early 16th-century English polyphonic music has been preserved both in isolated fragments and fly-leaves, but also in complete and representational manuscript sources such as Old Hall Manuscript or the Henry VIII songbook, or in repertoire-specific collections such as the 15th-century anonymous English carols. From the 16th century onward, English songs and consort music by composers such as John Dowland, Thomas Morley, and their contemporaries abound. Unusually complex notation for virtuosic florid instrumental pieces exists in the so-called Baldwin Manuscript. Regardless of the date of provenance, if it is print or manuscript, reading music from original sources opens a deeper understanding of the music and the notational conventions and idiosyncrasies of its time. Music will be chosen according to the class level.

Whether your reeds are giving you trouble or not, you are welcome to join this class on technique for shawms and dulcians with lots of playing. Start your day with encouragement and tips on good posture, embouchure, sound production, tuning, articulation, and dynamics..

Start your day with brass warm-ups and technique and mixed repertory for brass ensemble. Whether you play cornetto, serpent, or sackbut, Liza will help you get to the next level in your playing. Embouchure, articulation, breath control, and much more, as well as satisfying music making.

Consort music in England reached a peak of excellence in the late 16th and early 17th centuries and forms a staple repertoire for viol players today. This class will give you a chance to revel in the delights of the English consort with like-minded players–live and in person! Composers may include Jenkins, Lawes, Gibbons, Lupo, Ward, Ferrabosco, et al. We'll explore technical and musical opportunities (and challenges!) specific to each piece and the repertoire as a whole. (Pitch: A=440)

Renaissance Viol Consort [VRenCons1.2] Lipnik; using a full set of Renaissance viols that have been generously loaned to AEMF for this class, we’ll explore the musical tastes of illustrious Tudor patrons and English Cathedral Libraries’ treasured collections of music manuscripts and partbooks. We’ll trace the stylistic evolution and dissemination of native and continental repertoire from Franco-Flemish roots at the court of Henry VIII to the flowering of the Italian madrigal in the late 16th century, with an eye to the technical and musical differences inherent in these instruments. Experience the sound and feel of the viols that Tallis, Tye, Ferrabosco, Farmer, Lassus, Marenzio, and their colleagues would have relished! For upper intermediate to advanced viols. (Pitch: A=440)

This masterclass will focus on composers in George Frideric Handel’s sphere, including but not limited to: Georg Philipp Telemann (1681-1767),  a friend of Handel during their student days; William Babell (c. 1690-1723),  who performed in the Haymarket orchestra and may have studied with Handel; Thomas Arne (1710-1778), who thought Handel was a tyrant (!); and William Croft (1678-1727), who is buried with Handel at Westminster Abbey. For editions: there is a beautiful new William Babell edition by Lyrebird Music; Stainer & Bell has the complete works of William Croft; Thomas Arne is available on imslp.org; Handel - please use BÄRENREITER URTEXT or imslp.org.

Performers should plan to bring extra copies of their pieces for the class.

Chris will cover the basic physiological mechanics involved in playing the Renaissance lute well. He will deal with the fundamentals of right-hand thumb-under technique, the principles of left-hand finger placement (with special emphasis given to the thumb and little finger), and the “order,” or method, of choosing felicitous fingerings. He will also provide a checklist of problems to avoid, while offering insights into various ways of holding the lute, practicing, producing good tone, and playing in a relaxed, focused manner.  Some lutes may be available for rent, please inquire: Click here to show mail address

This class session will cover dances from the 1st edition of John Playford’s The English Dancing Master in 1651, including dances not often done in the US as well as a new look at old reconstructions.  Cécile will also provide an explanation of the difficulties encountered in the reconstruction of these dances. Currently selected dances include Cécile’s reconstructions of: a suite for three couples with Stingo, New New Nothing, and Scotch Cap; Parson Upon Dorothy; Adson’s Saraband; and more..

Works by Byrd, de la Guerre, and Delius. Immerse yourself in the lush sound of winds and strings playing together.  We’ll work on multi-choir pieces as well as works for five to eight voices. Recorders must be able to play alto and tenor, large recorders especially welcome! Viols please note that class pitch is A=440.

Dances and songs performed in the court masques and other entertainments, arranged for lute ensemble and other instruments, including recorders, flutes, viols, and other soft instruments.

Whichever way you spell them, if you want to play one, you’re welcome to join the AEM Buzzies. Cornemuses and other buzzies are welcome too. We’ll play a variety of ensemble music–dances, chansons, and other secular works–from the British Isles and the continent.  Bring your own or borrow an instrument from AEM’s collection.

Tomas Luis de Victoria (1548-1611) ranks as one of the most important composers of his time, along with Palestrina and Lassus. Victoria’s music is a favorite of many loud players, particularly his beautifully-voiced settings of sacred music. Less well-known is his contemporary Sebastian de Vivanco (ca.1551 to 1622), who was also a leading composer of the Spanish Golden Age. Vivanco’s works are known for their ingenious counterpoint and deep expression

A focus on keyboard playing through the lens of the prelude. From the handful of preludes fingered by the virginalists to the elaborate through-composed preludes of Handel, we will study how these pieces display playing style, technique, and musicianship.  We will also explore the art of improvising simple preludes as a way to become familiar with an instrument, to introduce a piece of repertoire, or simply to make spontaneous music.  No experience with improvising is required, and non-keyboard players are welcome to join the group as auditors, keyboard beginners, or with their primary instrument.

Drawing upon Morrongiello’s  musicological research into the music of Daniel Bacheler and his contemporaries, students will be led through a broad study of forms common to England’s “Golden Age” of lute music. Fundamental problems of editing, analysis, ornamentation, and interpretation will be explored. Participants are encouraged to prepare pieces for discussion and coaching..

A class devoted to describing the various elements that go into playing the lute at a high level of artistry. While there has been extensive writing about the scholarly and historical aspects of the lute, there is still fairly little detailed writing about how to play the lute beyond a basic level of instruction. I will focus on those aspects of lute playing (both technical and musical) that are not usually addressed in lute method books or in basic private instruction.

July 2023 marks the 400th anniversary of the death of Tudor England’s greatest composer, William Byrd (c. 1540 - July 4, 1623). What better time to celebrate his work! The AEMF23 A Cappella Vocal Ensemble will enjoy a tasting menu from Byrd’s vast choral output, drawing (on the sacred side) from his Latin motet collections, mass movements, English service music, and anthems, and on the secular side from his partsongs and madrigals. In general, selections will be in four parts (SATB). Come for an enjoyable late-morning ensemble a-cappella singing experience – no audition necessary! Decent sightreading skills a plus.

NLA faculty; a different presentation every day from faculty in the New London Assembly.

Monday—Elements of Modern and Historical Country Dance Style, with Cécile Laye
What is style? This question has continually eluded modern country dancers and scholars. In this session, Cécile will endeavor to bring country dancing’s elements of style into focus.

Tuesday—Archival Dance Film, with Brad Foster and Audrey Jaber
Brad will show digitized versions of kinora and film moving pictures of country and morris dance from  the 1910s, 20s, 30s, and 1965 in England, Amherst Massachusetts, upstate New York, and Pine Tree/Pinewoods Camp. Contrasts will be made between the early dancing style and changes (or not) with modern style. Many “Late Greats” will be seen including Cecil Sharp, Maud Karpeles, Helen (Karpeles) Kennedy, George Butterworth, Mary Gadd, Nibs and Jeanne Matthews, Art Cornelius, George Fogg and more.

Wednesday—Cecil Sharp & The Revival, with Cécile Laye
After having become a myth, Cecil Sharp has lately become a controversial figure; both attitudes prevent us from doing a much-needed reassessment of his work. Beyond the Victorian personality, it could be useful to go back to what Sharp actually did and why, both before the framework of the Revival Movement and within this movement.

Thursday—Triple the Fun: Triple Meter in English Country Dance with Carol Marsh and Audrey Jaber
One of the delights of English Country Dance music is its metrical variety. In addition to the reels (2/4) and jigs (6/8), English dances utilize several types of triple meters: minuets (3/4), hornpipes (3/2), and slip-jigs (9/8) — as well as the occasional courante, saraband, or passepied.  This lecture will briefly trace the history of triple-meter music and dance from the 15th century onwards and will consider some ways in which biped dancers might move in triple time, either using historical footwork or with modern stepping.

Friday—A New Look at 20th-Century ECD in the United States, with Brad Foster and Audrey Jaber
Some have said the 100th anniversary of modern country dancing reaching the US should have honored the first wave of teachers from and contacts with England in 1910, rather than when Cecil Sharp founded the American Branches in 1915. Much of that early history has been unearthed and presented over the last 20 years. But did you know many communities put on massed morris dancing presentations in the 1910s, before Sharp’s first visit, and that the American Branches had a charismatic teacher in Alabama in the 1920s and held camps in Bryce Canyon, AZ and Carmel, CA in the 1930s? Brad will present newly discovered details of our American Past..

Saturday—Concert: Dance Music, Old and New, from Here and There, with Karen Axelrod, Audrey Jaber, Shira Kammen, and Eric Martin
Our faculty musicians will play a tapestry of dance music from around the world. This concert will be followed by demonstrations by members of Cécile’s classes of some of the material taught during the week.